Articles
Academic Papers Portfolio
This portfolio presents a selection of academic papers written during my first and second years of the Bachelor's program in Media, Art, Design en Architecture (MADA) at the Vrije Universiteit Amsterdam. These papers represent coursework completed for various courses within the program, demonstrating the development of my academic writing, research, and analytical skills across multiple disciplines.
Please note: These papers are student coursework and are not intended for sharing, citation, or distribution outside of this portfolio. They should not be referenced in academic or professional contexts. The papers are shared here solely for the purpose of documenting my academic development and should be treated as unpublished student work.
The papers span a range of subjects reflecting the interdisciplinary nature of the MKDA program—from art history and historiography to urban studies, media theory, and design criticism. These papers should be read as evidence of my growing competence in academic research, critical thinking, and scholarly writing. They reflect the learning outcomes of the MKDA program: the ability to analyze cultural artifacts across media, the application of theoretical frameworks to concrete case studies, and the development of rigorous academic arguments.
AI Propaganda and the Post-Medium Condition: The Case of Iran's Lego Animation
Keywords: Post-medium condition, AI propaganda, algorithmic circulation, Iran, Lego animation, digital warfare, platform governance, operational images, YouTube censorship
Abstract: This paper examines how AI-generated Lego-style animations function as a new form of post-medium propaganda, using a viral video depicting Iranian revenge narratives against the US and Israel as a case study. Released in February 2026 following the US-Israeli bombing of a girls' school in Minab, Iran, the Lego animation blends the recognizable aesthetic of children's toys with violent geopolitical messaging. The paper argues that this video exemplifies the post-medium condition by collapsing distinctions between state propaganda, user-generated content, and entertainment, operating across multiple media platforms (YouTube, Instagram, X) to bypass linguistic and censorship boundaries. Through theoretical frameworks drawn from McLuhan, Krauss, Weibel, and Distelmeyer, the analysis explores how the video weaponizes interactivity and the aesthetics of user-generated content. The Lego aesthetic functions as a "world language" that transcends cultural barriers, while YouTube's algorithmic circulation (rewarding engagement regardless of intent) amplifies the video's reach. The paper further examines the operational image concept (Farocki/Parikka), arguing that the video's power lies not in representation but in performance: viewers who click out of curiosity become complicit in algorithmic promotion. The Iranian foreign ministry's subsequent condemnation of YouTube's takedown as "suppressing the truth" illustrates how platform moderation becomes entangled with geopolitical tensions. The paper concludes by questioning whether corporate platforms should remove such content or if deletion itself becomes a political weapon in an era where diplomacy unfolds increasingly online.
Author: Tamar Jagersma
Course: Urban Culture and Public Space
Date: May 25, 2026
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The Death of Public Space on Beukenplein 2008-2026 (Amsterdam)
Keywords: Public space, gentrification, Amsterdam, Beukenplein, urban design, consumptive space, right to the city, displacement, café terraces
Abstract: This paper examines the transformation of Beukenplein, a small square in Amsterdam Oost, from a car-dominated parking area with public benches into an enclosed hub of café terraces. Building on Van der Wilk's 2016 dissertation documenting the early stages of this shift, this research asks: Ten years later, how has the gradual decline of public benches and enclosure of café terraces reshaped the public presence of non-consumptive users? Through fieldwork observation, Google Street View analysis (from 2008-2024), and archival research, this paper documents the progressive deterioration of public seating. Where six red benches once offered panoramic, comfortable, and freely accessible places to sit, only two poorly supported, centrally located benches remain. Meanwhile, every terrace has been enclosed with wind screens, marking private space and demanding consumption. Drawing on Bodnar's concept of "graduated publicness" and Mitchell's "social agoraphobia," the paper argues that the square's redesign reflects the dominance of exchange value over use value, excluding marginalized groups and non-consumers. This confirms and extends Van der Wilk's thesis of "stacked displacement", what she observed as the beginning of bench removal has, by 2026, matured into fully privatized spaces. The paper acknowledges limitations in not capturing resident perspectives and suggests future qualitative research on diverse user groups. Following Henri Lefebvre's "right to the city," the paper concludes that the square should be redesigned not to serve corporate interests but to meet the needs of residents and their right to exist in public space without consuming.
Author: Tamar Jagersma
Course: Urban Culture and Public Space
Date: May 25, 2026
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The Tree of Jesse: Image Traditions and Devotional Innovation
Keywords: Tree of Jesse, Geertgen tot Sint Jans, early Netherlandish painting, devotional art, devotio moderna, iconography, medieval art, Northern Renaissance
Abstract: This paper examines Geertgen tot Sint Jans's innovative depiction of the Tree of Jesse (c. 1500) as a significant departure from established iconographic traditions in Northern European art. While earlier Tree of Jesse representations—from 10th-century manuscript illuminations to the monumental Chartres Cathedral window (c. 1145)—typically employed schematic, vine-like structures with figures isolated in medallions, Geertgen introduced a naturalistic, organic branch that creates a tangible sacred event unfolding within a monastic courtyard. Through comparative analysis with works by Hans Schilling, Israel van Meckenem, and anonymous medieval artists, this paper demonstrates how Geertgen's composition departs from static verticality, allowing figures to interact dynamically with the branch and each other. The paper argues that this stylistic innovation was driven by contemporary spiritual priorities, particularly the devotio moderna movement's emphasis on personal meditation and emotional engagement with biblical narratives. Drawing on John Decker's "Technology of Salvation" theory and Van Os's analysis of late medieval devotional art, the paper contends that Geertgen's naturalistic branch functions as a devotional instrument, enabling viewers to imagine themselves present at the sacred scene. The depiction of a praying nun within the courtyard further emphasizes the power of private meditation. The paper concludes that Geertgen's innovation was not merely stylistic but conceptual, transforming an abstract genealogical diagram into an intimate, tangible vision that made the mystery of the Incarnation more immediate and personally accessible to the viewer.
Author: Tamar Jagersma (2860083)
Course: Early Modern Art
Date: October 22, 2025
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The Franks Casket: A Historiographic Analysis
Keywords: Franks Casket, Anglo-Saxon art, historiography, cultural hybridity, medieval material culture, whalebone carving, cultural transfer
Abstract: This portfolio offers a multi-perspectival historiographic analysis of the Franks Casket, an intricately carved whalebone box from 8th-century Northumbria. The casket's panels juxtapose scenes from Roman, Jewish, Christian, Germanic, and classical mythology with runic inscriptions in Latin and Old English, making it a rich subject for examining cultural hybridity in early medieval Europe. Through five distinct analytical frameworks (culture, technology, power/ideology/economy, transfers, and postmodernism) this paper historicizes the artifact while acknowledging the inherent limitations of interpretation. The cultural analysis contrasts traditional "spirit of the age" approaches with material culture methodologies, drawing on critiques by Popper and Gombrich. Technological analysis examines the significance of whalebone as material, the casket's stylistic synthesis of Italian compositional models and Anglo-Saxon linear aesthetics, and its connections to the Brescia Casket. The power/ideology/economy section interprets the casket's iconography as reflecting Anglo-Saxon political structures of mutual obligation and loyalty, framing it as an ideological instrument within its political economy. The transfers section traces the movement of materials, techniques, and images across cultural boundaries, considering the casket as a possible diplomatic gift. Finally, a postmodern perspective acknowledges the fragmentary survival of early medieval material culture and challenges definitive conclusions. The paper argues that the Franks Casket emerges as a hybrid product of cultural exchange whose meaning reflects its singular, privileged position rather than representing Anglo-Saxon society as a whole.
Author: Tamar Jagersma (2860083)
Course: Historiography of Media, Art, Design and Architecture (MKDA)
Date: December 12, 2025
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Designed to Last or Replace? Unpacking Apple's Product Evolution through Planned Obsolescence
Keywords: Planned obsolescence, Apple, consumer electronics, repairability, sustainability, lithium-ion batteries, design ethics, consumer behavior
Abstract: This paper examines the extent to which Apple's product design choices are shaped by planned obsolescence, drawing on the distinction between functional obsolescence (intentionally limited product lifespan) and perceived obsolescence (aesthetic or status-driven replacement). Through analysis of hardware design, repairability challenges, and marketing strategies, the paper argues that Apple's business model actively encourages frequent device replacement. Key evidence includes the difficulty of replacing batteries (e.g., the 44-step iFixit guide requiring 15 tools for iPhone 11 battery replacement), the use of proprietary screws that complicate third-party repairs, and software barriers such as "Error 53" which rendered iPhones with third-party home button replacements inoperable. The paper also examines AirPods as an extreme case of non-repairability, where lithium-ion battery degradation dictates device lifespan. However, the paper acknowledges countervailing evidence, including Apple's use of mechanical fasteners instead of glue in certain components, which enhances repairability. The analysis draws on scholarship by Bisschop, Hendlin, and Jaspers, who compare electronics companies to the fast fashion industry in encouraging style-based replacement, and Taffel's work on battery degradation and planned obsolescence. The paper concludes that while some steps have been taken toward repairability, Apple's broader business model continues to prioritize replacement over repair, raising critical questions about sustainability, consumer rights, and environmental impact. The paper acknowledges limitations in not addressing consumer behavior and recommends broader understanding of market dynamics and consumer preferences.
Author: Tamar Jagersma (2860083)
Course: Academic English
Date: March 28, 2025